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This volume considers transnational and intercultural aspects of early modern theatre, drama and performance. Its twelve chapters, loosely cosmographically grouped into West, North and South, compose a complex image of early modern theatre connections as a socially, economically, politically and culturally realised tissue of links, networks, influences and paths of exchange. With particular attention to itinerant performers, court festival, and the significant black, Muslim and Jewish impact, they combine disciplines and methods to place Shakespeare and his contemporaries in the wider context of early performance culture in English, Spanish, French, Dutch, German, Czech and Italian speaking Europe. Their shared methodological approach examines transnational connections by linking abstract notions of wider theatre historical significance to concrete historical facts: archaeological findings, archival records, visual artefacts, and textual evidence. Crucial to the volume is this systematic yoking of theories with surviving historical evidence for the performative event – whether as material object, text, performative routine, theatregrams, rituals, festivities, genres, archival evidence or visual documentation. This approach enables it to explore the infinite variety of early modern performance culture by expanding the discourse, questioning the received canon, and rethinking the national restrictions of conventional maps to reveal a theatre that truly is without borders.

Steve Sohmer

Ingram, eds, Theatre in Europe: A Documentary History (Cambridge: Cambridge University Press, 2000 ), 414. 13 Ibid. 14 Arthur F. Kinney, Shakespeare by Stages: An Historical Introduction (Oxford: Blackwell

in Reading Shakespeare’s mind
Wayward apprentices and other ‘evil disposed persons’ at London’s fairs
Anne Wohlcke

’ was expanded to include, ‘every person who shall, for hire, gain or reward, act, represent or perform, or cause to be acted, represented or performed any interlude, tragedy, comedy, opera, play, farce or other entertainment of the stage, or any part or parts therein [without a license] … shall be deemed to be a rogue and a vagabond … ’ from ‘The 1737 Licensing Act’, in David Thomas (ed.), Theatre in Europe: a Documentary History – Restoration and Georgian England, 1660–1788 (Cambridge: Cambridge University Press, 1989), 207–8. 82 Rep. 139., f. 233. 83 Ibid. 84

in The ‘perpetual fair’
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Tourist images of late imperial Vienna
Jill Steward

city. 17 An Olympic Arena, which opened in 1902, could hold 4,000 people and claimed to be the largest open air theatre in Europe. A popular success was an early version of a theme park, ‘Venice in Vienna’, which attracted 2 million visitors when it opened in 1895. Evoking another ‘city of pleasure’, a favourite honeymoon destination for the Viennese, ‘Venice’ also included a version of the Moulin Rouge. 18 The associations conjured up by the latter were no coincidence, since prostitution was also one of the

in Imperial cities
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The politics of performance and the performance of politics
Peter Yeandle and Katherine Newey

, Manchester, Liverpool and Leeds. Indeed, the theatre makes an excellent case study for industrial nation-making, in the debates and battles over its regulatory and economic structures.26 Theatre scholars have made clear connections between the idea of a National Theatre and the idea of the nation; Introduction Loren Kruger opens her study of national theatres in Europe with the statement that The idea of representing the nation in the theatre, of summoning a representative audience that will in turn recognize itself as nation on stage, offers a compelling if ambiguous

in Politics, performance and popular culture
Experience and narratives in the Low Countries (1567–1648)
Vincenzo Lavenia

the Roman Church and for Catholic globalization. Their letters home from mission theatres in Europe, Asia and the Americas in the seventeenth and eighteenth centuries, poured out to reach readers curious about the world, sparking an early fashion for things Oriental and the first ventures in comparative ethnography. The circulation of these writings fitted in with the promotional strategies of the Order and of the Church of Rome, but also with a desire to bolster the ‘team spirit’ that was a feature of the Society of Jesus more than of any other Catholic

in Early modern war narratives and the Revolt in the Low Countries
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Pavel Drábek and M. A. Katritzky

dramaturgical specifics of the English Comedy ( Englische Comedie ) in Germany, which he first explored in two TWB presentations: ‘Worlds-in-Between and their Inhabitants’ (Wolfenbüttel, 2012) and ‘Tricksters, Enchantment and Trance-mission in Early Modern Theatre in Europe’ (New York, 2013). English travelling actors on the European continent have often been studied as exporters of London plays

in Transnational connections in early modern theatre
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Gilli Bush-Bailey

reminded that this is ‘not a museum but the oldest working theatre in Europe’ – so photographs of the stage and the set of its latest offering are forbidden ‘for copyright reasons’: the business of theatre is after all a commercial concern. We can, however, take photographs of the King’s box and the live performance of the theatre’s history moves to audience participation as two unsuspecting young male tourists are selected to reenact the moment in 1916 when King George V knighted actor Frank Benson – with a prop sword. Crossing to the Prince’s box, the first guide

in Treading the bawds
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Jennifer Mori

-Bourbon contest for control of the Mediterranean, Italy became a second-rank political theatre in Europe. Notwithstanding the Royal Navy’s continued interest in the region, there was little political work to be done: so much so that Horace Mann, the resident at Florence, called himself ‘an ambassador of goodwill’.32 English consuls and diplomats had long been accustomed to making money from the tour, discreet though the latter often were about their activities. They not only advised tourists on where virtu might be bought, but acted as local agents for clients in Britain

in The culture of diplomacy
The English Comedy as a transnational style
Pavel Drábek

their Inhabitants: A Semiotic Study of Theatre as a Border Zone’ at the Herzog August Bibliothek, Wolfenbüttel, Germany (2012; organised by M. A. Katritzky) and ‘Tricksters, Enchantment and Trance-mission in Early Modern Theatre in Europe’ at the Gallatin School, New York University, USA (2013; organised by Susanne Wofford); and a keynote lecture

in Transnational connections in early modern theatre